Ms Brighid Lowe

Ms Brighid Lowe

Lecturer

Brighid Lowe's work uses a wide variety of media and formats including text, sculpture and drawing. Current research considers ideas of evidence, loss, value and the tensions between rhetoric and substance, representation and materiality. Previous research has centred around the archive as a model of representation and the mapping of digital space.

Solo exhibitions include Jerwood Artists' Platform, London in 2004. Group exhibitions include Intelligence, Tate Britain, 2000; You Are At Home Here, Lokaal 01, Breda, Holland, 2003, Take Shape-Make Shift, Instants Chavires, Paris, 2010 and Switch, Baltic 39, Newcastle upon Tyne in 2012.

Recent writings have been included in an anthology of artists' fiction, The Alpine Fantasy of Victor B and Other Stories and have been performed at The Known Unkowns at Volatile Dispersal, Festival of Art Writing at the Whitechapel Gallery, London, 2009.

In 1998, she received a Paul Hamlyn Award for Artists and in 2007, Rain Drawing (1) was awarded second prize in the Jerwood Drawing Prize.

The Manual_Parts & Labour (Osan)

2014Culture Factory (OSAN), Osan Museum of Art, Korea

The Manual_Parts & Labour (Osan), was a new version of an experimental project devised and curated by John Chilver and Brighid Lowe. First staged in London 2012, artists were invited to send instructions for actions or operations to be done to a pre-defined kit of materials, in no more than two hours' paid labour. The artists were paid for one hour at the minimum wage; the assistants who carried out the instructions were paid for two hours at the minimum wage level.
The project was re-staged in the Culture Factory (OSAN) in Korea and was co-curated with Honggyun Mok, with funding from the Arts Council Korea, Osan Cultural Foundation and the City of Education, Osan. The ten original artists’ instructions were re-interpreted by a different group of assistants. In addition, ten Korean artists were also invited to send instructions. A full colour catalogue is pending.
Parts and Labour was an experiment devised to reflect upon the material conditions of art production and the hierarchies and value of authorship and interpretation. The exhibition will continue to be re-staged, in order to further question definitions of authorship, intention, value, skills and instruction.

Detached Activists Engaged Observers

2013Gallery of the École Spéciale D’Architecture, Paris, France

Detached Activists Engaged Observers, was a group exhibition that considered the recording of events or the projection of future events. Curated by artist Charlie Jeffery at the École Spéciale D’Architecture, Paris, exhibiting artists included: Robert Barry, Patrick Keiller, Chris Marker, Michelangelo Pistoletto and John Smith.
I exhibited Rain Drawing (2), 2006.

Nomadic Reading Room

2013Nomadic Reading Room, Roundhouse, Myatt's Field, London, UK

A selection of artists' books, printed matter and ephemera curated by Connie Butler. The collection includes work by Milly Thompson, Marc Camille Chaimowicz, Ed Atkins, The Coelacanth Journal, The Happy Hypocrite and Patrick Coyle.

Einde

2013Lokaal 01, Breda, Netherlands

Large group exhibition to mark the closure of Lokaal 01, Breda, Netherlands.

Last Day

2012Cartel, The Old Police Station, Deptford, London, UK

A group show curated by Paul O'Neill, including the artists Liam Gillick, Ian Whittlesea, Pavel Buchler and Mark Hutchinson.

Parts and Labour

2012Camberwell Space, Camberwell College of Arts, London, UK

Parts and Labour (3 Hours minimum Wage) was an experimental project devised and curated by John Chilver and Brighid Lowe at Camberwell Space, Camberwell College of Art, London. Artists were invited to send instructions for actions or operations to be done to a pre-defined kit of materials, in no more than two hours' paid labour. The artists were paid for one hour at the minimum wage; the assistants who carried out the instructions were paid for two hours at the minimum wage level. Parts and Labour was an experiment devised to reflect upon the material conditions of art production and the hierarchies and value of authorship and interpretation. Participating artists: Leah Capaldi, Marc Camille Chaimowicz, Charlie Jeffery, Gareth Jones, Francesco Pedraglio, Adrian Piper, Martina Schmuecker, Florian Slotawa, Sarah Staton, Richard Wentworth. The exhibition will be re-staged in Germany, with the same artists instructions being re-interpreted by a totally different group of assistants. The exhibition posed many questions around the slippery definitions of authorship, intention, value, creative abilities and instruction.

Switch

2012Baltic 39, Newcastle upon Tyne, UK

SWITCH - the inaugural exhibition of the Baltic's new exhibition space, Baltic 39, Newcastle upon Tyne. SWITCH, selected by renowned artist Phyllida Barlow, built upon What Do Artists Do?, a 2008 project organised by Barlow and funded by the Arts Council designed to examine change in artistic practice and the act of making. Both the project and the exhibition invited the audience to question the role of the exhibition and to share and test the performative complexity of artistic production.
My piece, Evidence 2008-12, was developed during What Do Artists Do? in 2008 and at an artists' residency at the Sculpture Studio, Chapter, Cardiff, Wales in March 2009. Evidence 2008-12, is an archive-audit of over 4,300 unique private view cards, installed as a vast be-spoke floor work to be walked upon. In part an act of mourning for the 'death' of the private view card, part an archive of a period of time and part a symbolic representation of a field of cultural activity, it is simultaneously celebratory and critical of the sheer mass of art production. The work is experiential - manifesting data and evidence as a material landscape - permitting the collection to be experienced collectively, individually and materially (rather than sequentially and virtually as in a digital context). Damaged cards are replaced by new private view cards, in an endless cycle of production and consumption, producing a continuously evolving work.

Friendship of the Peoples

2011Simon Oldfield Gallery, Covent Garden, London, UK

Group show in which twenty artists proposed another twenty artists to build a community of forty artists. All the artists produced a uniform sized work around the idea of the poster. Other artists exhibiting included: Bridget Smith, Fiona Banner, Daniel Sturgis, Matthew Higgs. Two works were exhibited 'Evidence Poster' 2009, screen print on poster paper, dimensions of each: 52x42 cms. This work was originally produced as part of Phyllida Barlow's Arts Council funded research project "What Do Artists Do?". An accompanying catalogue was published by the Simon Oldfield Gallery with a text by Matthew Collings.

Several Interruptions: 15 Years of the Slade Centre for Electronic Media in Fine Art

Take Shape - Make Shift // Prendre forme - Provisoire

2010Instants Chavires, Montreuil, Paris, France

Group show curated by Charlie Jeffery at Instants Chavires, Paris, France. Instants Chavires is a music and art venue conceived as a laboratory for improvised, experimental and noise music and the visual and sonic arts. Work from 16 artists, including John Cage, Tom Cale, Matthew Houlding, Charlie Jeffery. One work exhibited: 'Each Long Second' 2006, A0 photocopies, tape. Dimensions 880 x 850 cms.

Liz Arnold, Camden Arts Centre

2009Camden Arts Centre, London

Liz Arnold (1964-2001) was one of the most original painters to emerge onto the London art scene in the 1990s. Co-curated with the artists Bridget Smith, Richard Kirwan and Dan Sturgis at the Camden Arts Centre, London, this posthumous survey exhibition was designed to critically re-assess the possibilities of imaginative, figurative painting as a prescient and viable language. The exhibition involved extensive research to assemble and then exhibit Arnold's representations of alien, hybrid worlds populated by fly-women, smoking ladybirds and femme-fatale bugs. It was accompanied by a File Note publication, ISBN 978 1 900470 91 9. All four curators participated in a public discussion with Andrew Graham Dixon at Camden Arts Centre. The exhibition was featured and reviewed in the Independent, the Sunday Telegraph, the Guardian and Time Out. I was invited to write about Liz Arnold's work in the Time Out Art Preview, March 12th 2009. This exhibition was awarded additional funding from The Elephant Trust, and its publication was additionally funded by the Cranford Collection. Camden Arts Centre is funded by the Arts Council, Camden Council and the Clore Duffield Foundation.

Walls Have Ears

2008Man&Eve, 131 Kennington Park Road, London SE11 4JJ

Verisimilitude

2006the gallery at Wimbledon, Wimbledon College of Art, London

A group exhibition curated by Jeremy Akerman, which featured new work from Brighid Lowe, Tariq Alvi, Michael Curran, with supporting work from two photographers, and an essay by the artist Paul Rooney. The exhibition coincided with the drawing conference 'With a Single Mark: The Models and Practice of Drawing', organised by Avis Newman(from Wimbledon School of Art's Centre for Drawing) at Tate Britain. A publication 'Verisimilitude. ISBN: 9780948327261' was produced in 2007, which includes 16 pages of images of my work and an interview with myself. This new work included: Rain Drawing(1)2006,200 X 160 cm, paper,pen,rain; Each Long Second 2006, 12 x 15 metres, photocopies, tape; 9 untitled drawings, A3 or smaller, pen, pencil, paper, and cut outs.

Responding to Rome

2006Estorick Collection of Modern Italian Art, London

Responding to Rome:British Artists in Rome, 1995-2005. a group exhibition of selected artworks made by scholars at the British School at Rome during the last decade. One large 150 X 180 cms cut out colour photograph exhibited.

Brighid Lowe - Jerwood Artist's Platform

2004Jerwood Space, London

Jerwood Artists Platform, set up by the Jerwood Charity to select four artists a year from UK-wide nomination, for solo exhibitions at the Jerwood Space, London, designed to promote emerging and talented visual artists.
Accompanying exhibition pamphlet with an essay by Tony Wood, Assistant Editor of New Left Review.

Unedited Confessions

2001Vox, Montreal, Canada

Cool Green

2000MOCA, Washington DC, USA

Intelligence: New British Art 2000

2000Tate Britain, London

Intelligence was the inaugural exhibition of the Tate Triennial, a series of contemporary exhibitions held at Tate Britain, to introduce some of the best new art to a wider audience.
My work "I Saw Two Englands Breakaway" 1996-97,(225 paperback books, 450 perspex mounts, C-type on flexibase) was exhibited.
Made over a two year period, the books were collected from the alternative economic structures of the dispossessed: second-hand bookshops, car boot fairs and charity shops. The titles of the books were arranged to construct a text that dealt with the betrayals, politics and failed ideologies of contemporary Britain. The text can be read via the book covers or via the reproduction of the text that faces them.

Fossick

2000Sali Gia, London

John I'm Only Dancing

2000Margaret Harvey Gallery, St Albans

Brighid Lowe

1999The British School at Rome, Italy

Thinking Aloud

1999Camden Arts Centre, London

and...and...and...and

"Obituary for ‘M’ "

Thirty-two artists were commissioned to write exactly 500 words without any other restriction on content or form. Flash 500 was an online project by Akerman Daly; publishers of writing, poetry and fiction by artists. Flash 500 was funded by the Arts Council and featured new writing from thirty two artists including: Fabian Peake, Patrick Coyle, Audrey Reynolds, Francesco Pedraglio, Edward Allington, Simon Faithfull and Fiona Banner. Flash 500 texts were sent out via email to the AD mailing list: five stories a week for six weeks between 18 September and 23 October 2013. Versions of each work were on display at selected galleries around the UK. Flash 500 public readings and events were staged at the Camden Arts Centre (I read "Obituary for ‘M’ ") and at the London Art Book Fair at the Whitechapel Gallery, London.

Art and the Internet

Book, Black Dog Publishing, London. 2014/01/16

Art and the Internet is a much-needed visual survey of art influenced by, situated on and taking the subject of the internet over the last two and a half decades. From the early 1990s the internet has had multiple roles in art, not least in defining several new genres of practitioners, from early networked art to new forms of interactive and participatory works, but also because it is the great aggregator of all art, past and present. Art and the Internet examines the legacy of the internet on art, and, importantly, illuminates how artists and institutions are using it and why.

Verisimilitude

Book, the gallery at Wimbledon College of Art, London. 2007

A publication 'Verisimilitude. ISBN: 9780948327261' was produced in 2007, to record the exhibition Verisimilitude at the gallery at Wimbledon College of Art in April 2006. The publication includes includes 16 pages of images of my work and an interview with myself.

Dr Clock's Handbook

Book, Redstone Press, London, edited by Gooding M,Rothenstein J. 2006

Artist's project for an anthology of the absurd. Other contributers include Glen Baxter, Damien Hirst, Richard Prince, David Shrigley.

Ghost Writer, short story in anthology of artists' fiction, The Alpine Fantasy of Victor B.

Chapter in The Alpine Fanatsy of Victor B and Other Stories, published by Serpent's Tail, London, edited by Akerman J,Daly E. 2006/11/09

A unique compilation of fiction by contemporary British artists, commissioned and edited by Jeremy Akerman and Eileen Daly. The book was launched at a public reading as part of Late at Tate Britain, and was featured on BBC Radio 4's 'Front Row' and reviewed in the Guardian.
Published by Serpent's Tail with additional funding from The Elephant Trust.

Access Permitted

Book, Unit 2, London Metropolitan University, London. 2006/10/06

Commissioned to write the pamphlet esay on Derek Tyman/Emma Rushton, Kwong Lee, to accompany their exhibition at Unit 2 gallery, London Metropolitan University.

I Cannot Understand, Tell Me More

Chapter in Contemporary Artists and Archives, published by Presses Universitaires de Rennes, Rennes. 2004

Something for Nothing?

Art Schools: Could do Better

Obituary for ‘M’

Performance

Public reading and live Resonance FM broadcast of "Obituary for ‘M’ " at 'The Oral tradition: Flash 500 - Artists' Short Stories, at Camden Arts Centre, London. One of a series of readings by some of the thirty-two artists commissioned to write exactly 500 words without any other restriction on content or form. Flash 500 was an online project by Akerman Daly; publishers of writing, poetry and fiction by artists. Flash 500 was funded by the Arts Council and featured new writing from thirty two artists including: Fabian Peake, Patrick Coyle, Audrey Reynolds, Francesco Pedraglio, Edward Allington, Simon Faithfull and Fiona Banner. Flash 500 texts were sent out via email to the AD mailing list: five stories a week for six weeks between 18 September and 23 October 2013. Versions of each work were on display at selected galleries around the UK.

The Known Unknowns / Volatile Dispersal / Festival of Art Writing

Performance

A public reading from a text work 'Evidence', performed as part of the programme 'The Known Unknowns' curated by Francesco Pedraglio, at the Festival of Art Writing at the Whitechapel Gallery, London, UK.
'Evidence' is an extended text that narrativises in a playful way the culture and bureaucracy of judgement and accreditation, and imagines the impossibility of auditing love and loss.
'Evidence' was developed during the year long Arts Council funded research project 'What Do Artists Do?'- led by the artist Phyllida Barlow.

What Do Artists Do?

Performance

A public performance and presentation made at the Mead Gallery, Warwick Arts Centre, University of Warwick, Coventry, UK. Developed by the participating artists in the year long Arts Council funded research project 'What Do Artists Do?' led by the artist Phyllida Barlow. This research project established a working environment in which 16 artists could engage in developing art work and ideas in an environment when no outcomes were expected. The research project placed an emphasis on the invisible aspects of production normally obscured by the convention of an exhibition. Alongside the development of new work, the artists developed a series of workshops, discussions, seminars and screenings.

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Overview

During the first three years of the MA, students attend courses in the history and theory of art and produce written work as an integral
part of their studies. Courses are thematic, looking at both historical and contemporary art. The programme takes the form of lectures,
seminars, individual tutorials, written papers and gallery and museum visits.

Studio Programme

During the first three years of the MA, students attend courses in the history and theory of art and produce written work as an integral
part of their studies. Courses are thematic, looking at both historical and contemporary art. The programme takes the form of lectures,
seminars, individual tutorials, written papers and gallery and museum visits.

Taught courses provide students with a grounding in histories
and theories of art together with an awareness of the relevance of these critical studies to the contemporary practising artist.
The knowledge and concepts gained from historical and theoretical studies contribute to students' overall development as artists.

The programme helps students to contextualize their studio work and to understand and negotiate the complex relationships between
making art and the ways in which contemporary and historical art is interpreted, displayed and understood.

History and Theory of Art

In the second or third year MA students must pass one additional course from another UCL department. This may relate to practical studio
work (such as anatomy, the psychology of perception or European film), provide an additional skill (such as a foreign language or computing),
or be followed as an entirely separate interest.

Overview

The critical studies component of the three-year MFA programme is integrated into the undergraduate studio course and the tutorial system.
It is designed to provide students with the ability to reference their work within a relevant cultural context and enable them to develop
verbal and writing skills to articulate the development of their work within a criticåal context. Critical studies will be assessed each year
by verbal presentation and a short text and must be passed in order to progress to the following year.

Studio Programme

The studio programme for the MA and MFA is structured around three studio subject areas: painting, fine art media and sculpture. After an
initial period of orientation as a first-year group, students choose to be based in one of the areas. Each subject area provides a focused
environment in which students can address the practice and theory of that subject and has a specialist team of academic staff supported by
technical facilities and expertise. Workshops are organised to offer students the opportunity to develop their skills and technical abilities
n response to and to assist with the development of their work. Each area runs a programme of seminars, visiting artists, gallery
visits and other events pertinent to students' interests and the development of exciting and challenging debate.

Group work

Students come together with other students from across the subject areas in a number of different ways, including an introductory course to the contexts and histories of art practice in the autumn term of the first year.

Tutorial Groups

The tutorial system consists of a tutor and his or her tutor group, made up from a group of students from all areas of the school, which meets twice a term. One-to-one tutorials can be arranged from the group tutorial, as well as with other tutors, through a system of sign-up sheets and appointments.

Subject-area Seminars

Each area organises regular seminars where students present their work for discussion. The aim is to relate the work to debates specific to the subject area and develop critical awareness.

Cross-area Seminars

The cross-area seminars provide a forum for students to present their work to students and tutors across the subject areas. The aim is to relate the work to a broader context beyond the subject area in which it is produced. Cross-area seminars also aim to develop students' understanding of how to locate, place and present their work for an exhibition. History and theory of art staff regularly participate in both series of seminars.

Critical Studies

The studio programme for the MA and MFA is structured around three studio subject areas: painting, fine art media and sculpture. After an
initial period of orientation as a first-year group, students choose to be based in one of the areas. Each subject area provides a focused
environment in which students can address the practice and theory of that subject and has a specialist team of academic staff supported by
technical facilities and expertise. Workshops are organised to offer students the opportunity to develop their skills and technical abilities
n response to and to assist with the development of their work. Each area runs a programme of seminars, visiting artists, gallery
visits and other events pertinent to students' interests and the development of exciting and challenging debate.

Yes, all applicants are encouraged to visit the Slade and there are a number of opportunities to do so.

Ideally, you should come on a Tour of the School during the autumn term. These are held on a weekly basis on Tuesdays at 2.00pm and you will have a talk by a member of academic staff and the opportunity to ask questions. This is followed by a guided tour of the School by one of our current undergraduate students. Book here.

In the last week of the autumn term there is an Undergraduate Open Studios event where you can meet academic staff, see the school and spend some time in the studios, perhaps listening to a crit or talking to current students. For details, click here. Booking is not required.

If you miss the Tours and Open Studios, but you are shortlisted for interview, you will have an opportunity to meet a current undergraduate student and have a tour of the building on the day of your interview.